Angered by what she views as a history of oppression in her family, Dee has constructed a new heritage for herself and rejected her real heritage. She fails to see the family legacy of her given name and takes on a new name, Wangero, which she believes more accurately represents her African heritage. However, the new name, like the “African” clothes and jewelry she wears to make a statement, is meaningless. She has little true understanding of Africa, so what she considers her true heritage is actually empty and false. Furthermore, Dee views her real heritage as dead, something of the past, rather than as a living, ongoing creation. She desires the carved dasher and family quilts, but she sees them as artifacts of a lost time, suitable for display but not for actual, practical use. She has set herself outside her own history, rejecting her real heritage in favor of a constructed one.